DOCSLIB.ORG

AMS/SMT San Antonio 2018 Abstracts Thursday Afternoon 2:15–3:45

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AMS/SMT San Antonio 2018 Abstracts Thursday Afternoon 2:15–3:45 American Musicological Society Ars Hispana Editions Society for Music Theory New Series of Early Spanish Music Four series of rare music from the 17th and 18th centuries. San Antonio Volumes include complete scores, as well as introductory material and critical notes in Spanish. Subscribers receive 10% off all retail prices! MÚSICA VOCAL Highlights include: Francisco Corsell i, Cuatro Antifonias Marianas, €36 Juan Hidalgo, Obras Sacras, Vol. 1 €32 José de Nebra, Cantadas Sacras, Vol. 1 €32 MÚSICA INSTRUMENTAL Highlights include: Jacinto Codina Marfá, Concierto para Fortepiano €36 Jaime Rosquellas, Tres Sonatas Para Violín y Bajo €20 MÚSICA ENSÉNICA Highlights include: Sebastian Durón, Coronis €60 Sebastian Durón, Ópera Escénica Deducida de la Guerra de Los Gigantes €48 Sebastian Durón and Juan de Navas, Apolo y Dafne €64 ORATORIOS Pedro Rabassa , La gloria de los santos €36 For complete listings visit www.tfront.com 26362 Ruether Avenue Santa Clarita, CA 91350 Tel: 661-250-7189 email: [email protected] web: www.tfront.com 1-4 November 2018 Program & Abstracts g Program and Abstracts of Papers Read at the joint meeting of the American Musicological Society Eighty-fourth Annual Meeting and the Society for Music Theory Forty-first Annual Meeting 1–4 November 18 Grand Hyatt Hotel San Antonio, Texas g AMS/SMT Joint 2018 Annual Meeting Edited by Carol A. Hess and Roman Ivanovitch SMT Local Arrangements Committee Jennifer Diaz, Chair, Jennifer Beavers, Stacey Davis AMS Local Arrangements Committee Kevin Salfen, Chair, Mark Brill, Elizabeth Dyer, Carl Leafstedt, Kimberlyn Montford, Brett Richardson, Drew Stephen AMS Program Committee Carol A. Hess, Chair, Linda Austern, James W. Buhler, Emily I. Dolan, David J. Metzer, Jennifer Saltzstein, Holly Watkins SMT Program Committee Roman Ivanovitch, Chair, Amy Bauer, Mark Butler, David Clampitt, Michael Gallope, Robert Hatten, ex officio, John McKay, Janet Schmalfeldt AMS Performance Committee Laurie Stras, Chair, Christina Baade, Ivan Raykoff, Kevin Salfen We would like to thank the following persons and organizations for their generous support: Visit San Antonio University of the Incarnate Word San Fernando Cathedral Our Lady of the Lake University St. Mark’s Episcopal Church University of Texas at San Antonio Georgia Cowart, Nancy Rogers, and University of Texas at Austin PFLAG San Antonio Trinity University Michael McClimon (app/website) Alamo Music Project Spectrum Program and Abstracts of Papers Read (ISSN 8-1) is published annually for the Annual Meeting of the American Musicological Society and the Society for Music Theory; one copy is distributed to Annual Meeting attendees free of charge. Additional copies may be purchased from the American Musicological Society for $. per copy plus $. US ship- ping and handling (add $. domestic shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping & handling prices: AMS, Cooper Square, nd Fl., New York, NY 1-711 (e-mail ams@amsmusicology. org). Copyright © 18 by the American Musicological Society, Inc. and the Society for Music Theory, Inc. All rights reserved. Cover design: Gabriel Sim-Laramee Meeting Highlights: AMS/SMT San Antonio 2018 Core paper sessions are scheduled Thursday :1 to : and 8: to 11:1 p.m.; Friday and Saturday to 1:1, :1 to :, and 8: to 11:1; and Sunday to 1:1. Study Group / Interest Group meetings, professional development sessions and meetings, receptions, and other events are scheduled throughout. See the detailed schedule for further information. Exhibits are open from 1 to 8 p.m. on Thursday, 8: to 6 p.m. Friday and Sat- urday, and 8: to 1:1 Sunday. Coffee/tea/lemonade breaks (complimentary): 1: and daily, near the exhibits All four daytime concerts take place at St. Mark’s Episcopal Church in down- town San Antonio, about .7 mi. from the Grand Hyatt. Shuttle service is pro- vided, or St. Mark’s is a pleasant fifteen-minute walk from the Grand Hyatt (W on Market St.; N on Alamo; staying left onto Losoya; W on Houston; N on Jefferson). Day-by-day guide to special events see the program or www.amsmusicology.org/ sanantonio for all details Thursday 1:1 Welcome for those new to the Annual Meeting (Presidio A) : AMS Conference Buddy meet-up (Seguin AB) : SMT Conference Guide meet-up (Bonham B) 6: Dwandalyn R. Reece, AMS Plenary Lecture (Texas AB) 6: Opening reception (Lone Star CDEF) 7: Carnaval de los Muertos (Hemisfair Park) : Student Reception (Bonham DE) Friday : Special session: Active Citizenship (Texas A) 1:4 Special session: Gestural Politics of Movement (Texas F) 1:4 Concert: The Art of the Castrato (St. Mark's) :1 Concert: Brazilian Music for Piano and Guitar (St. Mark's) 7: Kansas plays Point of Know Return (Tobin Center) Saturday 1:4 Lecture-Recital: Percussion as a Queer Tool of Resistance (St. Mark’s) :1 Concert: Piano Music of Luigi Perrachio (St. Mark’s) :1 Bonnie Gordon, AMS CWG Endowed Lecture (Texas E) :1 SMT Business Meeting (Texas AB) :1 SMT Awards Presentation (Texas AB) 4 : Carolyn Abbate, SMT Keynote Address (Texas AB) (cont.) iv Meeting highlights AMS/SMT San Antonio 2018 Saturday (cont.) : Tenth Annual Diwali Festival (Hemisfair Park) (continues to midnight) 7: Pre-concert talk followed (8:) by Austin Baroque Orchestra (San Fernando Cathedral) 8: Flying Bach: Where Classical Music Meets Breakdance (Tobin Center) : Dessert Reception (Texas D) Sunday 4: TheKingston Trio (Tobin Center) 8: Texas Pink Floyd: Creating Harmony Tour (Tobin Center) Transportation to selected events is available. See the maps for venue locations. Transportation pick-up point: E. Market St., near main entrance Maps are located at the back of the book. Additional information See the meeting websites, amsmusicology.org and societymusictheory.org, for full details on all the information listed below. The Meeting App is available via the websites. Twitter hashtag: amsmt18 Handouts: Presenters are requested to make available handouts in a form that is fully accessible. Handouts are available through the meeting app. Internet: The Grand Hyatt offers complimentary wifi throughout the meeting space. Accessibility: every effort will be made to meet the requirements of all attendees. Full details are available at the websites. Please note that reserved seating is pro- vided in all session rooms. Bulletin boards are available near registration to leave notes for attendees. Conference display materials: free materials and literature, near the exhibits Job interviews: schedule and room assignments at registration Quiet Room / Nursing Mothers Room: Suite C Gender-neutral rest rooms are available on second and fourth floors next to the ballrooms. See the maps (back of book). Badgeholder recycling: see the boxes near exits that will be in place Sunday morning. Extra Program & Abstracts Books and tote bags may be available (after a.m. Sunday), if not all are taken. Program Meeting highlights v Useful around Town Copy shop: The Grand Hyatt has a 4-hour business center (third floor). Fedex Offfice Print and Ship is adjacent to the business center. A UPS Store is nearby. Pharmacy/convenience: Rivercenter Drug Store, 84 E. Commerce St.; CVS Pharmacy, E. Commerce St. Restaurant Guide: online, handout at registration San Antonio AA / recovery support meetings: www.aasanantonio.org Urgent / Emergency Hotel Concierges: all information regarding local needs and questions Lost and found: at registration and concierge desk Emergencies: communicate with hotel or convention center staff immediately; call 11 if no staff is at hand. At-a-Glance Name Location Hours Registration / Lone Star 1 November a.m.–7 p.m. Information / Prefunction November 8: a.m.–6 p.m. Job interview desk / November 8: a.m.–6 p.m. Meeting Worker 4 November 8: a.m.–1:1 p.m. Check-in Exhibits Lone Star CDEF 1 November 1 p.m.–8 p.m. November 8: to 6 p.m. November 8: to 6 p.m. 4 November 8:–1:1 p.m. Speaker Ready Room Goliad 1 November 11 a.m.–7 p.m. November 8: a.m.–6 p.m. November 8: a.m.–: p.m. 4 November 8: a.m.–1:1p.m. Maps showing room locations are found at the end of the Program Book. Contents Thursday Afternoon 2:15–3:45 73 African American Representations (AMS) 75 Cassettes (AMS) 77 Eighteenth-Century Opera: Texts, Translations, and Teaching (AMS) 80 Enlightenment Aesthetics (AMS) 81 Genres in Transformation (AMS) 84 History of Theory: Politics, Practicalities, and Speculation (SMT) 86 Neo-Riemannian Theory (SMT) 88 A Place for Women (AMS) 90 Recomposition, Forgery, Plagiarism (SMT) 92 Rhythm, Flow, and Transcendence (SMT) 94 Subjectivity, Time, and Hearing (AMS) 96 Workshop: Title IX: Policy, Prevention, and Support (2:15 and 4 p.m.) (AMS/SMT) 97 Panel: Visualizing Archival Research and Data: Renaissance Mantua and Venice (AMS) Thursday Afternoon 4:00–5:30 99 Cold War (AMS) 101 Diatonic and Collectional Theory (SMT) 103 Embodiment and Tonality, ca. 1750–1850 (SMT) 105 Floyd and The Dead (SMT) 107 Lamenting Women (AMS) 110 Latin American Representations (AMS) 112 Medieval and Early Modern Theory (AMS) 115 Pop Poetics and Style (SMT) 117 Rethinking Appropriation: Blackness, Desire, and Political Fantasy (AMS) 119 Sound Materials (AMS) 122 Seminar: Time in Opera (AMS) 127 Workshop: Title IX: Policy, Prevention, and Support (2:15 and 4 p.m.) (AMS/SMT) Thursday Early Evening 128 AMS President’s Endowed Plenary Lecture Contents AMS/SMT San Antonio 2018 Thursday Evening 8:00–9:30 129 Embodiment and Voice in Contemporary Music (SMT) Thursday Evening 8:00–10:00 131 Joint Session: Extemporaneous Dialogues
Load more

Recommended publications
  • BWTB Nov. 13Th Dukes 2016
    1 Playlist Nov. 13th 2016 LIVE! From DUKES in Malibu 9AM / OPEN Three hours non stop uninterrupted Music from JPG&R…as we broadcast LIVE from DUKES in Malibu…. John Lennon – Steel and Glass - Walls And Bridges ‘74 Much like “How Do You Sleep” three years earlier, this is another blistering Lennon track that sets its sights on Allen Klein (who had contributed lyrics to “How Do You Sleep” those few years before). The Beatles - Revolution 1 - The Beatles 2 The first song recorded during the sessions for the “White Album.” At the time of its recording, this slower version was the only version of John Lennon’s “Revolution,” and it carried that titled without a “1” or a “9” in the title. Recording began on May 30, 1968, and 18 takes were recorded. On the final take, the first with a lead vocal, the song continued past the 4 1/2 minute mark and went onto an extended jam. It would end at 10:17 with John shouting to the others and to the control room “OK, I’ve had enough!” The final six minutes were pure chaos with discordant instrumental jamming, plenty of feedback, percussive clicks (which are heard in the song’s introduction as well), and John repeatedly screaming “alright” and moaning along with his girlfriend, Yoko Ono. Ono also spoke random streams of consciousness on the track such as “if you become naked.” This bizarre six-minute section was clipped off the version of what would become “Revolution 1” to form the basis of “Revolution 9.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53.
    [Show full text]
  • Colette Magny, Feu Chanteuse Atypique Engagée
    DOSSIER DE PRESENTATION " Quatre jeunes musiciens (chant, saxophone, flûte, guitare) pour un moment exceptionnel, je pèse mes mots, de recherche et de qualité musicale, d'engagement scénique, de générosité, d'émotion pleine et sincère de part et d'autre de la rampe. " Musik n° 8 OKAM!IK OKAM!IK plonge dans l'univers de Colette Magny, feu chanteuse atypique engagée. "Il faut manier le paroxysmique avec prudence" nous écrivait un directeur de scène nationale. Exit la prudence nous n'avons plus le temps. Nous maçonnons une histoire d'immédiateté avec une personne disparue. Nous sommes sur le vif, le vif du nerf musical des grandes émotions cruelles. Jouant de nos timbres, lyrismes et autres gargarismes personnels, endurcis par l'expérience de l'improvisation dite libre, nous fourrageons, ciselons la poésie de Colette et celle des auteurs qu'elle a mise en musique. Ses mots – souvent écrits au cœur des luttes – par lesquels frémissent l'indignation, la douleur de vivre et l'espoir, n'ont pas pris une ride. Ainsi nous les portons fiévreusement, architectes sonores épousant l'engagement total de la dame. Un lieu fondateur : Verfeil-sur-Seye. La création (2005) d’Okam!ik/Magny ne pouvait se vivre ailleurs qu’à Verfeil, petit village du Tarn-et-Garonne, au festival Des Croches et la lune. C’est Colette Magny qui, à la demande des jeunes du village, avait aidé à monter le festival, dans les années 1990. COLETTE MAGNY (1926-1997) Elle a aimanté, vécu une multitude d'expérimentations musicales, au service du mot, toujours. Ses engagements, ses passions et coups de gueule ne suivent aucune mode, aucune convention.
    [Show full text]
  • Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
    Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project.
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Microsoft Outlook
    Dave M. Peck From: Squidco <[email protected]> Sent: Thursday, September 14, 2017 10:11 AM To: Dave M. Peck Subject: SQUIDCO Email Update September 14, 2017 UPDATE September 14, 2017 We wanted to make a new art— new expressions of art— in an art world that was, for us, traditional." —Herman Nitsch Essential Labels Alga Marghen KARLRECORDS Art Yard Matchless Clang Mikroton Recordings Confront Room40 Creative Sources Someone Good / Room40 Discus Taping Policies Evil Clown Trost Records Fragment Factory Wide Hive Holidays Records Creative Artists 1 • Abecassis, Eryck / Francisco Meirino • Derek Bailey / Mick Beck / Paul Hession • Borbetomagus • Tony Buck • Deep Tide Quartet (Archer / Macari / Cole / Shaw) • The Elks (Fagaschinski/Allbee/Roisz/Zapparoli) • Georg Graewe / Mark Sanders • Haco • Junk & The Beast (Petr Vrba / Veronika Mayer) • Alice Kemp • Leap of Faith • Kurt Liedwart • Roscoe Mitchell • Dafna Naphtali / Gordon Beeferman • Hermann Nitsch • Orfeo 5 (Blezard/Bourne/Jafrate w/ Prince/Oliver/Kane) • Charlemagne Palestine • Pat Patrick And The Baritone Saxophone Retinue • Massimo Pupillo / Alexandre Babel / Caspar Brotzmann • Ernesto Rodrigues / Ulrike Brand / Olaf Rupp • Sakata / Mota / Di Domenico / Calleja • Udo Schindler • String Theory [Boston, USA] • String Theory [PORTUGAL] • Eckard Vossas 4 (Vossas / Fields / Henkel / Nabatov) • Christian Wolfarth / Jason Kahn • Christian Wolff / Eddie Prevost • Nate Wooley / Daniele Martini / Joao Lobo • Zeitkratzer / Svetlana Spajic/Dragana Tomic/Obrad Milic • Zeitkratzer + Elliott Sharp Jazz & Improvisation Bailey, Derek / Mick Beck / Paul Hession: Meanwhile, Back In Sheffield... (Discus) Free improvising guitar legend Derek Bailey was invited to perform in his home town of Sheffield, England in 2004 with the trio of Mick Beck on tenor sax, bassoon, and whistles, and Paul Hession on drums, Bailey's first visit in many years, and a joyful occasion as the collective group explores a wide range of approaches to creating instant compositions.
    [Show full text]
  • Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected];
    Lucie Vítková (1985, Boskovice, CZ); +1 347 967 2997; [email protected]; http://www.vitkovalucie.com. I am a composer, performer and improviser of accordion, harmonica, voice and dance from the Czech Republic. My work pursues two lines of enquiry: my compositional practice focuses on sonification (compositions based on abstract models derived from physical objects), while my improvisational practice explores characteristics of discrete spaces through the interaction between sound and movement. Recently, I have become particularly interested in the question of social relationships in music and their implications for the structural organization of musical pieces. I explore this theme in all aspects of my work. Education: [2013-present] Janacek Academy of Music and Performing Arts Brno (JAMU Brno), CZ: Doctorate in composition and music theory (Ph.D.) with Peter Graham; in the academic year 2014/2015 recipient of Nadace Český hudební fond scholarship. [1/2016-1/2017] Columbia University NYC, USA: Visiting scholar with Prof. George E. Lewis. [2/2015-12/2015] Universität der Künste Berlin, DE: Recipient of Erasmus Scholarship for studies in composition and music theory with Marc Sabat. [9/2014-1/2015] Universität der Künste Berlin: Recipient of DAAD scholarship (Deutscher Akademischer Austausch Dienst). [2011-13] JAMU Brno: Master’s Degree (MgA.) in composition with Martin Smolka and Peter Graham, including the following international exchanges: [2011-12] Royal Conservatoire The Hague, NL: Recipient of Erasmus Scholarship for studies in composition with Martijn Padding, Cornelis de Bondt, Gilius van Bergeijk and Yannis Kyriakides, and in sonology (a subset of sound studies) with Paul Berg, Joel Ryan, Peter Pabon, Richard Barrett and Kees Tazelaar.
    [Show full text]
  • Program Notes
    NSEME 2018 Installations (ongoing throughout festival) Four4 (1991, arr. 2017) - room 2009 Anthony T. Marasco, Eric Sheffield, Landon Viator, Brian Elizondo ///Weave/// (2017) - room 2008 Alejandro Sosa Carrillo (1993) Virtual Reality Ambisonic Toolkit (2018) - room 2011 Michael Smith (1983) Within, Outside, and Beside Itself:The Architecture of the CFA - room 2013 Jordan Dykstra (1985) Installations Program Notes: Alejandro Carrillo “///Weave///” A generative system of both random and fixed values that cycle over a period of 6 minutes. By merging light and sound sine waves, parameters such as frequency, amplitude and spatialization have been mapped into three sound wave generators or voices (bass line, harmonies and lead) and three waveforms from a modular video synthesizer on MaxMSP aiming to audiovisual synchronicity and equivalence. Jordan Dykstra “Within, Outside, and Beside Itself: The Architecture of the CFA” A performance which plays not only with the idea of lecture-performance as a musicological extension of history, narrative, and academic performance-composition Within, Outside, and Beside Itself: The Architecture of the CFA also addresses how the presenta- tion of knowledge is linked to the production of knowledge through performance. I believe that creating space for new connections through creative presentation and alternative methodologies can both foster new arenas for discussion and coordinate existing relationships between academia and the outside world. A critique regarding how the Center for the Arts at Wesleyan University func- tions as an academic institution, as well as its physical role as the third teacher, my lecture performance playfully harmonizes texts from art historians at Wesleyan University, archaeologists, critical theorists, YouTube transcriptions, quotes from the founder of the Reggio Emilia school, and medical journal articles about mirror neurons.
    [Show full text]
  • 5. El Mito De Don Juan En La Literatura Universal
    5. EL MITO DE DON JUAN EN LA LITERATURA UNIVERSAL TÍTULO DE LA El mito de Don Juan en la literatura universal ACTIVIDAD Nivel educativo sugerido 5º 6º Primaria ESO Bachillerato Responsable CARÁCTER DE LA TAREA El profesor de una materia organiza la actividad, el proyecto o la tarea. Ese profesor es el encargado de diseñar las MATERIA actividades, las estrategias, la metodología y la difusión de las actividades realizadas. Tiene libertad para abordar la actividad asociada a su materia, sea cual sea su naturaleza. Participan distintas materias con diversas INTERDISCIPLINAR actividades por lo que es proclive a usar una metodología basada en el trabajo por TRABAJO POR PROYECTOS proyectos o tareas. Cada materia propondrá una tarea a los alumnos que, sumada, a la del resto de participantes, conformarán un proyecto conjunto. En esta actividad, podrían participar profesores de CCSS (el contexto socio- histórico y cultural del Romanticismo), Lengua y Literatura (estudio de la literatura que ha desarrollado el mito, desde el 1 Barroco hasta la actualidad), Música (la música Romántica pasando por el Don Giovanni de Mozart), Filosofía (el concepto del mito en el Romanticismo), EPV (representaciones plásticas de la figura de Don Juan), por ejemplo. Si el centro es bilingüe y desarrolla el CURRÍCULUM INTEGRADO Currículum Integrado de las Lenguas, esos DE LAS LENGUAS profesores pueden tomar este asunto como tópico o foco de atención y desarrollar actividades, desde las materias y lenguas implicadas, para acercar la dimensión de un mito nacido en la literatura española que ha traspasado fronteras artísticas y nacionales. 2 INTRODUCCIÓN GENERAL Finalidad de la actividad y sugerencias didácticas La actividad propuesta pretende acercar el nacimiento, la evolución y las influencias posteriores del mito nacido en nuestra tradición, el mito de Don Juan.
    [Show full text]
  • Chapter 24 – Comparing Means 1
    Chapter 24 Comparing Means 401 Chapter 24 – Comparing Means 1. Dogs and calories. Yes, the 95% confidence interval would contain 0. The high P-value means that we lack µµ− evidence of a difference, so 0 is a possible value for Meat Beef . 2. Dogs and sodium. Yes, the 95% confidence interval would contain 0. The high P-value means that we lack µµ− evidence of a difference, so 0 is a possible value for Meat Beef . 3. Dogs and fat. µµ− a) Plausible values for Meat Beef are all negative, so the mean fat content is probably higher for beef hot dogs. b) The fact that the confidence interval does not contain 0 indicates that the difference is significant. c) The corresponding alpha level is 10%. 4. Washers. µµ− a) Plausible values for Top Front are all negative, so the mean cycle time is probably higher for front loading machines. b) The fact that the confidence interval does not contain 0 indicates that the difference is significant. c) The corresponding alpha level is 2%. 5. Dogs and fat, second helping. a) False. The confidence interval is about means, not about individual hot dogs. b) False. The confidence interval is about means, not about individual hot dogs. c) True. d) False. Confidence intervals based on other samples will also try to estimate the true difference in population means. There’s not reason to expect other samples to conform to this result. e) True. 6. Second load of wash. a) False. The confidence interval is about means, not about individual hot dogs.
    [Show full text]
  • French Stewardship of Jazz: the Case of France Musique and France Culture
    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
    [Show full text]
  • Exposition Trine Søndergaard
    Trine Søndergaard Still MuMa - Le Havre 13 octobre 2018 Musée d’art moderne André Malraux 27 janvier 2019 muma-lehavre.fr Sommaire Préface .................................................................... 3 L’exposition « Still » ............................................... 4 Biographie de Trine Søndergaard ...................... 8 A propos du peintre Vilhelm Hammershøi ........ 9 Lumières nordiques .............................................. 10 La genèse d’un projet ........................................... 11 Le MuMa et Lumières nordiques ....................... 12 La photographie au MuMa ................................. 13 Autour de l’exposition ........................................... 14 Les visuels disponibles pour la presse ............... 17 Les informations pratiques .................................. 18 Contacts presse ..................................................... 19 2 | TRINE SØNDERGAARD | Still Préface Il y a des évènements havrais qui font parler d’eux. Comme en 2014, avec la très re- marquée exposition du « Siècle d’or de la peinture danoise », où le MuMa avait mis à l’honneur l’art pictural danois. A nouveau, du 13 octobre 2018 au 27 janvier 2019, l’art danois renoue avec Le Havre. Le Musée d’art moderne André Malraux nous présente une trentaine de pièces de Trine Søndergaard et un tableau du peintre Vilhelm Hammershøi. Avec ces deux séries de photographies, Interior et Guldnakke c’est une nouvelle invitation au voyage qui nous est offerte par le MuMa. Un voyage architectural, presqu’inquiétant par
    [Show full text]
  • Eutopia 4 General .Pdf
    Revista de investigación y proyección Año 2, núm. 4, julio-diciembre de 2017 Revista de investigación y proyección Año 2, núm. 4, julio-diciembre 2017 Vicerrectoría de Investigación y Proyección Universidad Rafael Landívar Guatemala CUERPO EDITORIAL COORDINACIÓN GENERAL Juventino Gálvez Ruano DIRECTORA/EDITORA JEFE Belinda Ramos Muñoz EDITORAS ASOCIADAS Ana María Palma Chacón Cecilia Cleaves Herrera EDITORES ACADÉMICOS • COMITÉ EDITORIAL ACADÉMICO Ana Victoria Peláez Ponce, Instituto de sobre Diversidad Sociocultural e Intercul- Investigación y Proyección sobre Econo- turalidad, ILI/URL mía y Sociedad Plural, Idies/URL Raúl Maas Ibarra, Instituto de Inves- Cecilia Cleaves Herrera, Instituto de In- tigación y Proyección sobre Ambiente vestigación y Proyección sobre Ambiente Natural y Sociedad, Iarna/URL Natural y Sociedad, Iarna/URL Víctor Gálvez Borrell, Dirección de Inci- Dieter Lehnhoff Temme, Instituto de Mu- dencia Pública, DIP/URL sicología y Estudios Superiores «Monseñor Luis Manresa Formosa, S.J.», IMUS/URL COMITÉS CIENTÍFICOS Enrique Naveda Bazaco, Plaza Pública/URL • COMITÉ ACADÉMICO INTERNACIONAL Eugenio Incer Munguía, Vicerrectoría de Investigación y Proyección, VRIP/URL Ana Luisa Acevedo-Halvick, Universidad Juan Ponciano Castellanos, Instituto de Federal de Río de Janeiro, UFRJ/Brasil Investigación en Ciencias Físicas y Matemá- Arturo Taracena Arriola, Centro Peninsu- ticas, ICFM-ECFM/USAC lar en Humanidades y Ciencias Sociales, Karen Ponciano Castellanos, Instituto de CEPHCIS-UNAM/México Investigación y Proyección sobre Diversi-
    [Show full text]